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concerning' 
Millinery 



Kate J. Giblin 




Class _TIi££ 
Book_J3_44 



Gopight}<°. 



COPYRIGHT DEPOSIT. 




MISS KATE J. GIBLIX, 



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1 








Concerning 
MILLINERY 






BY 

KATE J. GIBLIN 

BostoA 
Ptavitan Press 






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THF UJBRAftV OF 
CONGRESS, 

Two Coottfi ReoavcD 

|CLA5«»<X YXr No. 

conr B 



Copyright, 1902 

By KATE J. GIBLIN 

Boston, Mass. 



,•••• « «•••• • 



^ 



CONTENTS 



PART I — HATS 
Introduction - -------..... ^ 

CHAPTER I 

Wire --.-..-..-.... i^ 

Choice bias - - - - - - - - - - • - - 13 

Plain fold - - - . j^ 

Slip stitch .---...--.-. 14 
Blind stitch ..----..-.-. 14 

Plain binding .------.--.-_ 15 

Line - - - - - - - - - - - - - - 15 

Plain facing - - - - - - - - - - - - - 16 

Bow-making - - - - - - - - - - - - - 17 

Ribbon rosette ............ ig 

Color -...----....-. 20 

CHAPTER H 

Puff bindings ..-.-.. 22 

Twist ---.... 23 

Square the triangular end ._.-...-. 23 

Roll-hemming 24 

Wired bow ------...--.. 24 

Shirred full facing ........... 24 

Fly-running ............ 26 

To grade ............ 2b 

Full-puff facing -.-....--... 28 

Crepe rosette ...-..- 30 

Rosette trimmings 30 

CHAPTER HI 

Draft pattern for buckram frame - - - - - - - - - 34 

Velvet-covered hat -..--...... 36 

Plain wire frame .---.-..--.. 38 
Fancy wire frame ---..--..... 40 

Shirred hat without frame - - - - - - - - - - 41 

Space-grading rule .......... 42 



Bandeau - - 46 

Empire Bow - - - ' - - - - - - - - - - 47 

Shirred hat with a frame - - 48 

Silk-fold hat ----- - 50 

Sewed-straw hat ........... ^o 

Feather curling 52 

Cameo effect ------------- 53 



PART II — BONNETS 

CHAPTER I 

Plainest bonnet - - - 55 

Fancy bonnet ............ z^g 

Puff facing --.---..... .60 

Crape bonnet ........... (,2 

Cords .-.---.-.-.--- 63 

Renovate crape 64 

Silk bonnet 64 

Folds 66 

Straw-covered wire frame bonnet -..--..-- 68 
Conclusion 71 




LIST OF ILLUSTRATIONS 



Frontispiece 

Wire finish puff 

Shirred full facing, muslin 

Shirred full facing, velvet 

Full puff facing 

Diagram of drafted pattern 

Velvet hat 

Plain wire frame 

Fancy wire frame 

Shirred hat without frame 

Shirred hat with frame 

Silk-fold hat 

Plainest bonnet 

Bonnet lining . 

Fancy bonnet . 

Crape bonnet . 

Silk bonnet 

Diagram of gathered puff 

Straw-covered wire frame 

Diploma . 

Work-box 



Page 

23 

25 
27 
29 

33 
31 
38 
41 

42 
48 
51 
55 
57 
59 
62 

65 
67 
68 
70 



INTRODUCTION 

IT is said that one loves art, not alone for art's sake, 
but for the ennobling influence it has on mankind. 
Painting, sculpture, architecture, stand out to 
claim our first attention when we speak of art ; but as 
smaller branches of a great tree partake of the nature 
of the parent stem, so too, the lesser branches of art 
show the same characteristics as those of the funda- 
mental principles, and the study of them brings a similar 
effect, though it be but a branch of the " sartorial " art 
which this book aims to teach, in the mastering of which, 
the ennobling influence may come from the conscious- 
ness of having doubled one talent which the Lord has 
given us. 

An harmonious background causes the subject of a 
fine painting to attract the eye first, because of the well- 
regulated high lights and shadows, which must ever be 
secondary, or else the effect will be, as on the stage 
sometimes; while the star tries to claim the whole atten- 
tion of the audience in a role which is really serious, 
some lesser satellites, by their comic gesticulations, cause 
a laugh, thus showing how the background of the pano- 
rama was defective whereas it forced the central figure 
from its right position. 

So in headgear which is intended to bring out tlie 
best points in the wearer's face; color and form must be 



8 Introduction 

considered in their relation to that face, so that one is 
attracted to the face first of all, and then when one looks 
to the cause of that attractiveness and discovers it in a 
becoming hat, the true artist is recognized, who knows 
the value of a good background to set off iniladys face 
to the best advantage. Should attention be first drawn 
to the hat, irrespective of the wearer, then the aim of the 
artist milliner is lost. 

Sculpture is considered a cold medium, and does not 
appeal as readily to all as painting does ; nevertheless as 
one studies, even in a slight degree, some of the master- 
pieces, and notes the characteristics of the various epochs, 
it opens a vast field of thought which seems applicable 
to everyday humdrum life. 

A lecturer, in giving the mythical explanation of 
Greek sculpture embodied in friezes and statuary, called 
special attention to the perfect symmetry in every line of 
those statues ; for if viewed from any or all sides the 
effect was the same: no sharp angles to mar the lines 
of beauty. 

In the art of milHnery, a l^at should conform to the 
shape of the head in such a way that the effect is pleas- 
ing and harmonious, from whatever side it is viewed, 
showing that it is not designed simply to give a satis- 
factory effect to the front view. Take it in on all sides, 
and when it will not yield readily to the shape of the 
head, consider the hair as a means of adjusting it, just 
as the drapery is so artisticall}^ adjusted in sculpture as 
to help give the effect of perfect harmony of outline on 
all sides. 



Introduction 9 

Our journals and daily papers have at various times 
given valuable hints on the selection of a hat, emphasiz- 
ing the necessity of attention to the lines of the face and 
head. One who has a long face should not wear a hat 
which seems to add to its length, or to bring into greater 
prominence a prominent feature of that face. Not that 
we mean to speak disparagingly of a long face, for physi- 
ognomists tell us that it accompanies a long head, and 
experience teaches that in combination with a short 
pocketbook a better result is obtained, than by a short 
head combined with a long pocketbook. 

Adding to the width gives the effect of having de- 
creased the length, and when there are many curves in 
the outline and trimmings of a hat, the first impression 
produced is from the combination of those curves, thereby 
adding to the attractiveness as the straight-line effect is 
overcome. Straight lines are compared to a monotonous 
sound which soon becomes tiresome; and curves, from 
their ever-varying impressions, to a musical melody, and 
are on that account more restful. 

Another speaker in congratulating the scholars on 
their acquisition of a copy of a beautiful piece of Floren- 
tine sculpture, immediately pronounced it Thorwaldsen's 
work, from the particular position of a woman in the 
group, a pose peculiar to that sculptor's work. In such 
a manner a milliner looks at a beautiful pattern hat or 
bonnet and immediately names the artist; for a work 
of art bespeaks the personality of its author, and the 
observer recognizes some peculiarity, because of acute 
observation combined with a natural taste for the art. 



10 Inti^oduction 

which has been cultivated by technical theory and 
practice. 

Who that has read " The Marble Faun " by Haw- 
thorne can fail to be impressed with a greater apprecia- 
tion of the value of sculpture as a means of bringing us 
in touch with the subject of the artist? He chisels out 
a form so true to life, that, the mind attuned to high 
ideals, immediately invests that sculptured monument 
with the life it is intended to suggest, feels for the time 
as if in the very presence of the living one, instead of 
admiring a true artist's conception of that one. 

In millinery the teacher asks the scholar, Does that 
hat look like her for wliom it is made.-^ Sometimes in 
a show-window a hat or bonnet is on exhibition, and a 
woman in passing stops to admire the display. Immedi- 
ately she singles out one and names it Mrs. Blank, be- 
cause it seems stamped with the individuality of Mrs. 
Blank. What is her surprise to find that her surmise 
is correct! Nor is this detective ability confined to a 
woman, for a man on seeing a bonnet niadc by a specially 
bright millinery scholar, said, if he saw it at the Horse 
Show, and knew that Nell was out of town, he would say 
that she came to town on purpose to attend the show, 
for that was Nell's bonnet lie saw in the crowd. A very 
encouraging compliment for the scholar. 

Ruskin, in his " Seven Lamps of Architecture" teaches 
us that our beautiful Gothic churches, with their many- 
colored windows, are the condensed expression of an 
artistic soul : forced to a cold northern climate from 
warm, sunny Italy, he sought to transplant to liis place 



Introduction ii 

of worship, even by artificial means, the lovely forest 
trees with their overhanging tops, and expressed this 
idea in the pointed nave. The cold northern sun shin- 
ing through the prismatic windows, gave the warmth his 
soul craved, and transported him in spirit to where his 
heart longed to be. Sometimes " Dame Fashion " sanc- 
tions the use of summer foliage and trimmings on winter 
hats and bonnets, as if to counteract the effect of the cold 
gray atmosphere of winter. 

It is thus that we draw a parallel of our art of milli- 
nery with other arts, but it is not profitable to dwell too 
much on the ideal. The following pages contain the 
practical — " Concerning Millinery." 




PART I.— HATS 



CHAPTER I 



THIS work presupposes a knowledge of sewing 
and a well-filled workbox containing at least the 
following articles. 

Tape-measure, tape-needle, milliner's needles 
(5 to 10), 2 boxes mourning pins, emery, scissors, 4 
spools Kerr's thread, white A and D, and black A and 
D, pin-cushion and thimble. Always use a single thread 
in milliner^^ 

To wire a straw hat take measure around the hat 
plus i", for the length of wire ; then take a stitch iV off 
from the end of this wire, and wind thread to end and 
back, and stitch again, to secure from ravelling; sew 
around on first row stitching on straw, and leave li" at 
the end to wind as at the beginning and sew it under 
(inside) the beginning. Take the first stitch on the under 
side of the wire, as the needle comes through the hat, the 
long stitch being taken on the upper side of the wire. 

Velvet is usually 18" wide. A choice bias is where 
the weave cuts right across the bias. A choice bias is 
essentially a true bias, but a common bias need not be. 
Goods str-etch more on a true bias. Take a piece of 
velvet with a selvedge edge and two square corners, 
bend one corner over so that the selvedge shall be at 
right angles with the rest of itself from which it is bent, 
see if the diagonal weave of the wrong side of the velvet 
crosses the fold ; if not, then it is not a true bias, conse- 
quently a line parallel to this fold cannot be a true bias. 

Note. — The sign " is used instead of writing out the word inches. 
13 



14 Concerning Millinery 

Try the same experiment with the next corner, and you 
will see the weave cut right across the bias thus formed, 
and it follows that it is a choice bias, and its parallels are 
like it. 

A plain fold is cut on the bias of the velvet, twice 
the width that is desired to have it when finished. Fold 
over the required width on the web velvet, put in three 
or four pins to secure the bias, put the scissors in the top 
of the fold and cut towards you, holding firmly. 

The length of the fold is the measure around the hat 
plus i" , We have considered the weave in cutting our 
fold. It is necessary to consider the nap in seaming the 
pieces to make up tlie length of it. Where a selvedge is 
sewed to a piece which has no selvedge, pull a thread to 
determine the straight-cut, as a bias fold must always 
be seamed on the straight of the goods, and the pulled 
thread leaves a space in the weave which runs parallel 
to the selvedge. 

Seam with a milliners back-stitch, that is. a long for- 
ward, and short back-stitch. Make the fold by putting 
edge and edge together and catch-stitching them. Be- 
fore placing on the hat, be sure that the nap runs down- 
ward so that the fold shall not get ruffly as it runs 
through the left hand, while the hat is turned to the 
right in sewing it on. 

To sew on; piiiS should be put in, with the nap side 
of velvet up, so as not to track it ; begin to put the fold 
on the hat 3" from the end, covering the wire with it. 
Put in 3 pins each 3" apart (n^ver more than three at 
a time), stretch the outer edge of the fold and slip-stitch. 
A slip stitch differs froni a blind stitch in having to go 
through one thickness, while a blind stitch takes only the 
upper and lower sides respectively of the two things 
sewed. In this case the hat gets the through stitch. 



Concerning Millinery 15 

Stop sewing on, 6" from the end of the fold, rip out the 
catch-stitching, and also rip the 3" left at the beginning, 
measure the raw edges of these along the wire, draw a 
thread in each to get straight, allow \" extra on each end 
and seam. Press the seam open with the thimble top, 
finish again by catch-stitching the undone part of the 
fold, secure with pins as before and blind-stitch to com- 
pletion. The stretching of the outer edge makes the 
inner edge look roll-like and it needs no stitching. 

Cut a plain binding according to the directions for 
cutting a plain fold, page 14, excepting the measurement 
for the width, which is ordinarily a strip 2\" wide cut on 
the choice bias. First wire the hat on top |" from the 
edge, having prepared accurate length and finish (see 
page 13). 

The overlap i", finish on the outside, for a binding. 
It was inside for a fold. Place bias strip on top of the 
hat, so that the nap runs in toward the crown, stretch it, 
and sew a back stitch underneath, and a long stitch on 
top; have edge at edge of hat and sew just inside the 
wire ; 3" left at beginning and 6" left at end, measure off 
on wire, allow Y for seaming when nap is matched by 
drawing a thread, and continue the sewing on hat. 

Turn over the binding by putting the fingers of both 
hands on under brim, and springing it over, the thumbs 
assisting to roll it over the edge. Turn in until under- 
neath is the same width as on top, using scissors to turn 
in the edge; never touch with hands, only scissors, then 
slip-stitch and the binding is finished. Do not stitch too 
near the edge, but go in far enough so that the edge will 
look roll-like with no stitch showing. 

To line a hat, there are eight measurements required. 
For the length, 

(i.) Measure around the headline + i\'\ and 



1 6 Cojiceriiiiig Millinery 

(2.) Measure greatest depth of hat + ij" for the 
width. 

(3.) Turn back \" at end. 

(4.) SHp in I" and 

(5.) Sew in \" depth, leading the hning around (with 
the left hand) over the hat, not hat before the hand, 
which is wrong. Back-stitch to the end, which should 
overlap |" on the bent-back |" of beginning. 

(6.) Turn down \" at top and 

(7.) Sew \' of it for a casing. At this point, let 
the lining remain standing out straight, till the hat is 
trimmed, when the tip is also adjusted. 

(8.) Measure for tip the top of the crown from front 
to back and side to side and round off the square cor- 
ners. The tip is secured with six stitches when the hat 
is trimmed, so that the gilt shall liave no chance to rub 
off by extra handling. Put running ribbon in the \" 
casing, drawing it through a diamond-shaped opening 
snipped in the f " overlap. Draw tight enough to allow 
the lining to lie flat on the tip }" and bow. 

For a plain facing on a hat, cut out a paper pattern 
first. Take a brown paper which is not stiff, lay a corner 
of it on the front edge of the hat, and pin it at the edge 
and at the headline all around, still keeping the hat in 
one position. If an irregular hat, let the extra fullness 
go to the back. Mark with a pencil on the wire, and at 
the headline, then unpin the paper and cut according to 
the lines. 

Put the centre front of the pattern on a choice bias 
of velvet, with the nap running forward, and the un- 
marked side of the pattern next to the velvet, that is, pin 
the pattern on the velvet, as // was pinned on the hat. 

Allow \" on outside and %' on inside, except for a hat 
that rolls up, when i" is allowed on inside, as some may 



Concerning Millinery 17 

have to be cut out. Cut out the velvet by making these 
allowances and mark the centre front before removing 
the pattern. 

With centre front of velvet and centre front of hat 
together, put in four pins, that is, front, back, and two 
sides, stretching from the centre, never from the edge, 
and then pin all around, directing the points of the pins 
toward the centre of the hat. 

Slash the facing to within :|" of headline, with slashes 
\" apart, and sew long forward and short back-stitch. 
Cut the outer edge of it \' beyond the wdre, turn in, pin, 
and slip-stitch, but do not remove the pins till the sewing 
is done. 

Bow-making consists of four distinct kinds and their 
modifications. 

A round bow. Begin with the end in the left hand 
and hold the ribbon in the same hand till the bow is 
fully made by the right hand. Bend up a loop, turning 
with the right hand and folding the pleats between the 
thumb and forefinger of the left hand, then bend down a 
loop and fold same as the first. Continue till within 9" 
of the end, and if end be up, roll it over the extended 
middle finger, but if end be downward, roll it tuidcr the 
middle finger, and around, twisting around hard, and pull 
end through loop, thus formed, tightly, and the bow is 
finished. The first loop made is in a straight-line con- 
tinuation of the free end which should be the length of 
the loop. If started with the end upward, then the first 
loop must be a downward one, and vice versa, i \ yds. 3 J" 
wide makes a bow. 

A French bow is started the same as a round bow, 
but stops within 16" of the end. Instead of pulling the 
end through as in round bow, make a little larger loop 
of this end and pull it througli the middle-finger loop. 



r8 Concerning Millinery 

Stand it with the end upright in the middle of the bow 
and stand the other loops around it, on their edges. i\ 
yds. '^Y wide ribbon. In the next two bows, take 2 yds. 
^\" wide ribbon. 

A cross bow is begun like the others but stops within 
12" of the end. The first three loops are very small and 
the last loop, made before the 12" end, is longer than any 
of the others. This is the most difficult ; to tie this end, 
down around the back of the bow, across the front, around 
the long loop, under the cross piece down the front, up 
the back and through that piece that is near the long 
loop and have the end stand up with the long piece. 

A running bow begins as a round bow, one end and 
two loops and ties as in a round bow ; use this bow as an 
end, and make another bow, and so on, a succession of 
knots and loops. 

A ribbon rosette for a No. i ribbon has 3" loops; 
made of No. 2 ribbon, 4^ " loops, and requires one piece of 
ten yards in the making of it. 

Cut a wire from wire taste, 18" long. Cut a piece of 
cardboard 3" wide and double it over, sew it on the edge, 
and the pattern for the loop rosette is made. Rest the 
wire against the edge of pattern, take ribbon end and sew 
it to the wire, roll it over the pattern and secure the first 
loop by a stitch, roll over another piece, forming a second 
loop and keep on partly overlapping each loop on the 
other, and stitching them to the wire, which should be 
moved along the edge of the pattern for 10" when the 
ten yards of ribbon is used, and the pattern may be 
wholly removed. With this 10" of loops, bend Y ^t the 
beginning and keep on rolling round and round to the 
end, when the remaining wire is brought over to the centre 
to be used as a stem. Stitch these successive rows to 
each other securely and the effect is a fiat oval with loops 



Concer7iing Millinery 19 

standing up from it. Bend this oval in the centre till the 
shorter edges meet at the wire or stem, and the desired 
effect is produced, a round rosette. 

With the knowledge thus far gained, we may proceed 
to trim a plain hat. 

First wire it ; decide on a plain fold, a plain binding, a 
plain facing or any combinations of these. Line the hat 
according to the directions page 15, select the style of 
bow or bows and be governed in their adjustment by the 
marked peculiarity of the season, that is, do not trim a 
hat high if the season proclaims a flat trimming the 
fashion. 

The little ribbon rosette suggests a very pretty white 
hat for a two-year-old. A small rolling sailor, with a white 
velvet plain binding, and two plain folds around the 
crown, finished by the baby velvet or ribbon rosette. 
This style has been favored, and died out, only to be 
revived again as new after a few years' rest from it. 
Possibly when the " Wheel of Fashion " revolved round 
to it, although some writers think that Fashion does not 
revolve in a wheel, that it simply swings from side to side 
as a pendulum, and the return of some styles to popular 
favor, when they have scarcely been forgotten, makes the 
pendulum theory seem a plausible one. 

Sometimes a hat is trimmed with a bow and a rosette. 
Four yards are required of 5'' wide ribbon, and two yards 
to make a rosette which is made the same as a round 
bow, with loops very short. A bow is braced with wire 
taste. Cut the wire i^" longer than the ribbon loop, 
bend up the surplus and wind one end around the other, 
after having bent it the length of the ribbon loop and 
crooked it at the top to overcome the stiff, sharp effect. 

In sewing bows, get them high on the crown, not near 
the brim, as they will look squashy. A running bov/ 



20 Co7icerning Millinery 

adds to the appearance of length of a hat, so should only 
be put on a small round hat. 

The most careful work sometimes fails to show its 
true value, because of error in the selection of the colors 
combined in the trimming of the hat, so a few words on 
color may be valuable here. 

Light is composed of three colors and sixteen parts. 
These are the primary- colors, because it is impossible to 
obtain any one of them by any mixture whatever. All 
others are called secondary or composite colors, and are 
made from at least two of the primary colors. 

Secondary. 
orange 
purple 
green 

How many parts of the light 

= green ( -f- red = light") 
= purple ( -f- yellow = light) 
= orange ( +blue = light ) 

Call these colors complementary colors. There are 
six properties to color: 

warm red 

cold green 

transparent purple 

opaque yellow 

advancino: orange 

retiring blue. 

A color is positive. Its secondary has a negative 
property. Colors to combine must contain like propor- 
tions of a primary. Complementary colors combine, or 
a color combines with its complement, which tends to 
enhance its beautv, whereas in combinations with a non- 









Primary. 








yellow 


— 3 








red — 


5 








blue- 


-S 




U 


nite 


red an 


d blue. 


re 


P 


Lirpk 


'? An 

yellow 

red 

red 


^. 13. 
4- blue 
-fblue 
4- yellow 



Concerning Millinery ii 

complementarv' color, the opposite effect is produced. 
One gets a good idea from nature, in the clouds and 
the landscape. Holly berries and leaves are a good 
example. 

In a railway train, riding through a field of yellow 
blossoms, the after effect is to make the surrounding 
objects purple spotted. This is most noticeable when 
the sunlight is clouded. As the shadows of an object are 
said to contain more or less of the complementary of the 
color of that object, this explains the reason that an art 
teacher says " Half close your eyes," thus making the 
light obscure, and the part of the canvas which has no 
paint on it shows some of the color's complementary, as 
the surrounding space did, when emerging from the yel- 
low field. So when yellow and violet or purple are com- 
bined, we feel an agreeable effect. 

The shade of a color is the color mixed with black. 
The tint of a color is the color mixed with white. The 
hiie is the characteristic of a color that distinguishes it 
from every other color. Tone is the state of a color as it 
passes from light to dark. 




CHAPTER II 

A puff binding may be a choice of three, — a plain 
puff, a rope puff, or a wire-finish puff. Wire the hat on 
top, as for a plain binding, page 15. Get the choice bias 
of the velvet, and use the corner piece as much as pos- 
sible. Cut .strips 3V' wide, measuring if times around a 
large hat, or i| times around a small hat. 36" or over is 
called a large hat. Pull a thread, to match the pieces, 
and sew them together. Quarter both edges, and notch 
the quarters, having one notch come in the centre of the 
largest piece for centre of hat front. Gather the edge 
from which the nap runs. Place quarters of velvet on 
top of the hat, and edge even with hat edge, pin securely 
at intervals, divide the gathers evenly, and sew a long for- 
ward and short back-stitch near the wire. 

For a plain puff turn over carefully, gather the other 
edge, and have the under side the same width of puff, 
when sewing is done, as the upper side is. Pin securely 
when turning in raw edge, draw the gathering to fit the 
hat, and blind-stitch to finish. A puff binding may be 
turned over with the fingers, as it is not necessary to 
take precaution against stretching, as in a plain binding. 

A rope puff is finished the same as a plain puff, but 
instead of turning straight it should be pulled diagonally, 
so it will look like a rope. 

For a wire=finish puff (as illustrated), the turnover 
edge is not a raw edge. Bend down V\ and gather ]". 
Have all the seams shut and lying in the same direction. 
Have a thread longer than the velvet, so the velvet can 



Concerning Millip.ery 23 

lie flat while sewing the Y casing, which is for the 
wire. The thread serves for a gathering thread later on. 
Cut the wire \" longer than the measure around tlie hat, 
and bend back 2''. Leave \\^' of the fold unsewed, so as 
to insert and run the wire. Always use silk wire, as it 
runs more easily. The cotton on the other isn't wound 
well enough to pull through readily. 

Be sure the fold is turned over to the under side of 
the brim before the wire is put in, as it would be hard to 




Wire-finish Puff. 



manage otherwise. So the wire will run through easily, 
be sure and start it at the end from which the seam ends 
turn. Fit the wire the required length, and cut off \'\ 
which was used as a stay, and sew the ends together, 
then finish the unsewed I2". Pull the gathering thread 
to hug the wire, and make the fold fit better, leaving the 
thread in. Then adjust the gathers on the wire, also, 
and slip-stitch all around, to finish. For a hat meas- 
uring 36" around the edge, f yard of velvet is required 
for the puff. 

For a twist around the crown and a bow, as illus- 
trated, the twist is ^\" wide, and for length the measure 
around the hat crown -f 3". Tliis hat measures 17", so 
we take a bias piece 20" long and 4]" wide. Square the 
tria7tgular end hy bending back half of it, on to the bias 



24 Concerning Millinery 

edge, to square the corner. Cut this off and seam the 
diagonal edge of it to the remaining diagonal edge, and 
the square end is complete. Treat the other end the 
same, if need be, to square it. On the long edges turn a 
I" hem, and catch-stitch it. In piecing for a twist the 
seams should all run the same way, as it is necessary to 
have the twist parallel with the seams. Have the join- 
ing of the twist sewed to the hat, at a place that will be 
covered by the bow that trims the hat. 

To make a large bow, cut two bias strips \ yard wide, 
measured on the selvedge and sew them together. Meas- 
ure down \\" on the long edges and bend and cut the 
ends, thus making the bias shorter, that is, less sharp. 

Measure down 9" from extreme points of the two ends 
and^mark a point on the edges opposite to these. Turn 
a hem on these ends \" wide, and baste it, turn again 
and blind-stitch it. This is called roll Jionniiug, whicli 
gives a finish to the two ends. The rest of the two long 
edges is a catch-stitched \" hem. 

Wire the bow by running wire along in one of the 
catch-stitched hems, so it will not be exposed in any way. 
Make the bow with its two finished ends and with loops, 
according to the directions for bow-making, and sew with 
coarse thread. The strap is made separately out of any 
bias ends of the velvet. It should be 6" wide or 9" meas- 
ured on the selvedge, that is, the same as the width of the 
bow. Catch-stitch the edges of it, but not the ends, pleat 
it and sew firmly at the back of the bow. Then sew the 
bow on the hat where the twist is joined. 

The cut represents a shirred full facing with a head- 
ing and a centre frill. As the hat is narrow at the back 
and wide in front, the facing must be graded, to get 
the centre frill in the correct place. Pull a thread in 
the li«-hter materials and cut the ends straiei'ht For fac- 



Concerning Millinery 25 

ing and trimming it requires i^ yards of material i yard 
wide, and except when velvet is used the material is 
always cut on the straight. 

For width take the widest part of the brim plus twice 
the width of each frill plus \\" for making. 

For fullness allow in 

velvet i^i times the measurement around the brim, 

silk and crepe de chine, 2 to 2^ " " " " " ' 

chiffon and Brussells net 3 >• '^ <.< - .> .< 

Always cut off the selvedge in piecing velvet, The 
illustrated facing is 2 yards in length, as the hat measures 
36" around the edge of the brim. There are two \^' frills. 

Widest part of brim 4'' + 2 (two |" frills) + \V' for 
making = 4" + i'' + i J'' = 6j" for width of facing. 




Shirred Full Facing— Muslin. 



When the two widths of the material are required, 
cut one in halves and sew a half to each end of one widtli, 
so that the seams will not come in a bad place to show, 
on the hat. Have the seams closed and running the same 
direction, or there will be trouble in the wire casing. 

Turn the ends \' and baste them. 

In velvet the whole length is seamed, leaving no ends, 



26 Concerning Millinery 

but in the lighter materials the ends are basted \" hems, 
and are allowed to lie flat and fall into the gathers. 

Turn the edge ij" and baste. Thread the spool and 
run the needle along the material from beginning to end 
without removing it, \vhich is called fly riinning, and 
keeps the thread from knotting. Run on the right side 
^' from the edge, on the i|" basted hem. Fasten on 
each end after pulling out straight. Pull out the basting 
but don't allow that i" remaining to sew in with the next 
I'' tuck which is the edge frill. Crease the second tuck 
from the other end and sew as near as possible to the 
first one. This gives the appearance of a double frill at 
the edge. Then |" below tliese two tucks, sew to the i " 
that was unbasted when the first tuck was sewed. 

This I" is the casing for a silk wire. Be sure the 
material lies flat with these three rows of stitching, as the 
next step is to grade for the centre frill. 

Take \ the centre front and add to it the width of frill, 
take \ the centre back and add to it the width of frill. 
On the ends measure off and grade down to centre front. 
Measure from the extreme edge of the hat. 

Example. Greatest width 4" -^ 2 = 2" + ^" (width 
of frill) = 2]". 

Narrow opposite front 2.V' -^ 2 = i] — J" (width 
of frill) := i.V'. 

Take centre front and measure down from extreme 
edge 2Y and mark it. 

Take ends (or centre back in case of velvet which is 
endless) and measure down i] " from the corners, or edge, 
and mark it. Crease diagonally from mark to mark. |" 
from this crease, sew on the double, making a tuck like 
the two edge tucks. 

Velvet does not crease readily without danger of tmck- 
ing it, so it is well to secure a thread around a pin on the 



Concerning Millinery 27 

centre back mark, and then chalk the thread. Handle it 
carefully and adjust it around a pin at the centre front 
mark, having the velvet lying smooth. Take the thumb 
and forefinger and lift the chalked thread carefully at the 
centre, release it and let it snap back to place, remove the 
pins, and the velvet is marked with a chalk line which is 
the edge of the graded frill. Treat the other half of the 
velvet in the same way and sew the |" frill. The chalk 
rubs off easil3^ When inserting the silk wire in the vel- 
vet facing, it is necessary to cut the casing. 

Velvet is not as easily managed as the lighter goods, 




Velvet. 



and silk is too slender to use in gathering, as it snaps 
when drawn, and breaks. A strong thread may be used, 
as the stitches do not show when it is pulled together. 

In the case of a hat which is narrow in centre back, 
but widest at the left of centre front, then the greatest 
depth should be measured off at \ of the length of the 
facing instead of at \ as illustrated, and the centre frill 
graded to that mark instead of the centre front. The 
hiaterial should be quartered on the hat instead of 
halved, as it is in one of the quarters that the widest part 
of the brim (which is in the deepest third), is likely to 
come. 



28 Concerning Milline7y 

Measure the wire which is ah'eady on the hat, and add 
i" for the measurement of the silk wire to put in the 
casing. Bend back V for security, and run the rest of 
the wire into the casing. Pin on to the hat to get the 
correct size to leave the wire, and see if it fits securely. 
Take it off the hat and join the wire, allowing the ends 
to overlap V , adjust the fullness on it, and lay on again 
to sew. The joining is always preferably in the back. 

Draw up all the gathering threads in the double frill, 
the wire-casing and the graded frill, drawing carefully 
from both ends till the facing fits securely. 

Don't break the thread off close, but run on to 6" 
from the end and back again. Distribute the gathers 
evenly, and sew at the edges between the first two tucks, 
that is, in the centre of the double frill. 

Take out the basting of the \" hems on the ends, 
pleat the rest of the facing down to the head-size and sew. 
Cut off any extra all around to make an even finish. 
With tlie material left, trim the hat. Drapery should 
not be wider than 15" or 16 ", and should be laid on fold- 
like. 

In using the remaining velvet for a drapery, square 
the ends (see page 23), catch-stitch hem the edges, and 
drape around the hat carelessly. 

When the shirred facing is completed, lining the hat 
comes next in order (see page 15). Marcelline silk is 
used. 37^ and 50 cents per yard, which makes several 
linings. There are substitutes in light China silk, silk 
mull or muslin. 

The full puff facing is a good illustration of the grad- 
ing for a brim which is narrow at the centre back and 
widest at the left side-front. Remember the formula 
in trying an experiment. Plan, cut and place. The best 
wav to plan in such a case as this, which is difficult for a 



Concerning Millinery 29 

beginner, is to cut a paper pattern, by following the 
directions carefully. 

As this hat measures 32" around the edge, it is called 
a small hat, being less than a yard around, consequently 
for fullness we allow 32 X 11 = 52". 

Measure the greatest depth. 9" from crown to crown 
over the widest part of the brim. Measure the smallest 
depth. ^' from crown to crown over the narrowest part 
of the brim. As this hat is highest on the left side-front^ 
grade by \ and quarter the velvet. 

Allow 3" for making. 

9" + 3''= 12" greatest depth. 

4'^ + 3'^zz:. f least depth. 

It requires i yard of velvet cut on the bias, and two 




Full Puff Facing. 



widths come near enough to 52" without using a smaller 
piece to be exact. It is necessary to seam it all around 
so as to determine the centre front, and provide against a 
seam showing in a conspicuous place. 

Divide the 52" into thirds, and at \ draw a perpen- 
dicular 12" high. 



30 Conceiming Millinery 

Measure ^" on centre back, and ii" on centre front, 
and on the quarter left of centre front the 12" should 
come, then grade to centre back, on each side of it. 

Particular attention to primary details is well repaid, 
by the ease with which the rest of the work is accom- 
plished. 

For a small crepe rosette, make a disk or circle of 
crinoline 30" in circumference. Take two strips of 
crepe de Chine 3j"wide. Have one, i yard long, and the 
other, \ yard long. Bend in j" at the ends, and sew the 
doubled long edges \^ from the raw edge. Sew right 
along from one piece to the other without breaking the 
thread, but don't sew the bent-in edges. Gather the i^ 
yard in two pieces, up to 9". Sew them on the disk, laid 
out flat, a long forward and short back-stitch. Having 
two pieces makes it more irregular, as a rosette should 
be. Sew the smaller piece around the edge of the disk, 
gathered so that it comes within }" of meeting. Start 
the longer piece by sewing the end into this 4" space and 
zigzag (called yV7^6>/) the rest across the disk till it is all 
filled in. 

Sometimes rosettes made in various sizes are the 
favorite trimming for a season. This one stands up \V' 
when finished. 

One which stands 2^" high when finished, has a 
gathering-thread 24" long, and requires length measure- 
ment of 3 yards for chiffon or 6 yards for tulle before 
gathering up to 24", and width 5.}". 

A rosette made to somewhat resemble a half-blown 
rose is an 8" bias strip of taffeta 1}- yards long: doubled 
on the width and rolled round and round softly. 

One made of chiffon or mousseline de sole is cut on 
the straight \ yard wide, and seamed at the selvedges to 
make a ring. Divide each edge into 6 parts exactlv 



Concer7iing Millinery 31 

opposite. Bring the edges together at division points, 
and wind around with fine wire, leaving about \" un- 
wound, for a stem. Bring all the stems together in the 
centre, and wind around securely and attach to a heavier 
wire, which is to be the main stem of the rosette. Be 
sure the raw edges do not show. At the centre of each 
division, draw out the chiffon fan fashion, and the result 
is a round, full rosette. 

A very pretty rosette is made of i yard mousseline de 
soie, by cutting into two \ yard pieces and sewing the two 
widths together; as it comes i\ yards wide, this makes 
a 2\ yards strip. Make 2" tucks (or i\' tucks if a larger 
rosette be w^anted) at the edge, in a cluster of 3. Then a 
\' or f " space for wire, allowed in making the first tuck 
so much extra at the beginning, according to the rule 
applied in the edge frill. Sometimes this idea is used 
for trimming, instead of finishing it into a rosette. 

Another pretty trimming is made of f yard silk net 2 
yards wide, f" tucks \" apart, made across the f yard 
measure. Cut off \ yard on the wadth for lining, and 
keep the i^ yard width on which to fill in tucks. Take 
wire taste for a brace frame, 3 or 4 pieces, less than f 
yard long. Meet at the ends, but separate the curved 
lengths in the centre. Roll the cut-off \ yard softly 
around this brace frame to make a foundation for the 
tucked net. When the tucks are laid over this founda- 
tion, and the threads drawn up and gathers secured and 
adjusted, the effect is soft and fluffy, like a feather. A 
shorter one has the effect of a snowball, when made of 
white silk net. 

Such novelties seldom last more than a season, but 
may be modified and appear as new in combination with 
later ideas. 

A more elaborate hat is suggested with these new 



32 Concerning Millinery 

ideas, which have advanced from plain trimmings to 
shirrings, puffings, and rosettes in variety. 

Beginners may practice on Canton, otherwise called 
cotton flannel, by cutting it down to i8", which is velvet 
width. It also gives a good idea of nap and choice bias, 
etc. Cheese-cloth is a good substitute for lighter goods. 
Take a straw hat with a flat brim, and a felt hat with a 
flat brim, and 

Wire the two hats $.03 

1 yard Canton flannel ; to cut and make plain fold, plain 

binding, plain facing 15 

Lining, \ yard white cheese-cloth 03 

Trimming, 2 yards pretty cambric, two colors, cut to ribbon 

width 10 .31 

Old ribbons for bow-making 

I yard Canton flannel for twist and large bow and wire 

finish puff binding 15 

I ^ yard silk wire 03 .18 

\\ yards fine cheese-cloth for shirred facing 14 

Silk wire per yard 02 .16 

Make a (crepe) rosette from cheese-cloth 

10 yards baby ribbon for rosette 25 

Silk wire 03 .28 

Total ~~ %Wl 



•^V^^^X 



ru 



CHAPTER III 

It is good to be able to trim a plain hat, better to trim 
a more elaborate one, and best of all to be qualified to 
draft a pattern and make a hat from it, then cover it and 
trim as the season's fancy dictates. This last acquisition 
enables us to relieve the monotonous idea that every hat 
has been cast in the same mould, so to speak, and the 
trimming-s fashioned at wholesale. 

In a large city where frames are so reasonable and of 




Diagram of Drafted Pattern. 



such variety of sliapes and sizes, it does not pay to make 
one, as the saving in money is over-balanced by the out- 
lay of time, but it is well to know how it is done, as in 
extreme cases it may be serviceable, when a hat is needed 
which is outside the regulation stock size, or a different 
crown is desired for the same brim, or vice versa. 



34 Concerning Milliiiery 

Take a sheet of brown paper about 24" x 22" to draft 
a pattern for a buckram frame. 

The usual measure of head is 6" x ^\" . 

Fold the paper lengthwise, open it and fold crosswise, 
creasing plainly. 

Mark the long line (crease) A, and the short one B, 
and at their intersection mark it i. 

Measure off on the long line 6" equal distances on 
each side of i, and call it 2, at one of the points. 

Measure off on the short line ^\" equal distances on 
each side of i, and call it 3, at one of the points. 

Measure from i to 2 with tape and then with the end 
of measurement on 3 let the other end reach line A and 
call the meeting point 4; do the same on the other side 
of I and call it 5. 

Stand pins in 4, 3 and 5. Secure thread on 4, around 
3, and on 5 tie it as on 4, leaving 3 free, so as to remove 
the pin, and put a pencil point in the loop thus formed 

With 4 as a centre and a radius 4-2, describe an arc 
to 3 and 3' 

With 5 as a centre and the same radius, complete the 
el ipse, which is the head-size of the hat. 

Decide on the width of brim, for instance 3.1" at centre 
front, and 2" at centre back. 

Width of the front 3^" marked off from 2 on A gives 
6. Width of the back 2" marked off from 2 gives 7. 
Find the centre between 6 and 7 and mark it 8. With S 
as a centre and a radius to 6 or 7 describe a circle which 
is the outer edge of the brim. 

This drafting of the brim pattern applies also to the 
brim of a wire frame. 

To draft a pattern of the side eroccn of the buckram 
frame, take a radius of 10", and with i as a centre, draw 
an arc, which forms the lower line of the side crown. 



Concealing Millinery 35 

Decide on the height of crown say 2\" , so with radius 
less by 2\" and the same centre, describe another arc 
which forms the upper hne of the side crown or the edge 
line of the tip. 

The tip is cut as much smaller in circumference than 
the head-size, as is consistent with the height of the side 
crown. 

One-half yard of buckram makes a hat. 

For the brim. Pin the pattern all around with its 
centre front on the straight of the buckram and mark 
the centre front. 

Draw a line around the outer edge, and one \'^ inside 
the headline. The crease in the pattern should be parallel 
with the selvedge of the buckram which should have its 
smooth side up. Cut out the buckram on these lines. 
Decide which side to turn up and slash from the outside 
edge in, to within Y of the head-size. Take a piece of 
buckram and tear down on the straight, a triangular piece 
to insert in the slash as a gusset, sewing it in with a long 
forward and short back-stitch. Have the smooth side 
up when fitting on the head. To wire, measure around 
the outside edge of the brim and allow \" for the length 
of the wire. Lay it on the top, which should be the 
smooth side, as near to the edge as possible, and button- 
hole stitch it on, with stitches \" apart. Slash the head- 
line \" from the cut edge with slashes \" apart. 

For the side crown. Lay on the drafted pattern with 
the crease on the straight fold of the buckram, and cut 
out according to the lines. Pin this side crown to the 
slashed brim, with its straight centre front at centre front 
of brim. This is done to fit it, before wiring top and 
bottom. Remove it from the brim in order to wire, after 
having secured the overlapped seam with pins, which are 
removed when it is sewed with a lone: forward and sliort 



36 Concealing Millinery 

back-stitch. It should lap i\ and be sewed on both 
edges of the overlap. 

To wire, measure the lower and the upper edges and 
allow I." 

Example: 18^" + i" = 191" 
i4V'+ i" = 151"- 
Wire the lower edge on the outside, and the upper one on 
the inside, to hold up the tip. When it is all wired and 
sewed, pin it on to the brim again as it was before, and 
button-hole stitch the wired low^er edge to the slashed 
brim, with the stitching just inside the slashing. 

For the tip. Cut it V' larger all around than the top 
is desired when finished. This extra gives something on 
Avhich to hold, while sewing to the side crown. Pin it on 
to the side crown, and sew through crown and tip, and 
then cut off the extra. 

To brace the frame. Take wire taste and brace the 
limp parts on the upper side of the brim, allowing ?," to 
run up on the crown, but none to lap under the edge. 
Cover the braces with i]" bias crinoline, sewed a long for- 
ward and short back-stitch. Brace under the tip with 
two pieces of wire taste crossing in the centre, and allow- 
ing \" to run down on the side crown. These braces 
need not be covered with crinoline, as the tip lining will 
cover them later. Cover the edge line of the tip, where 
it joins the upper edge of the side crown, with tlie IJ" 
bias crinoline sewed half on each, and also bind the outer 
edge of the brim with it, and the frame is complete. 

To make a velvet hat, cover the buckram frame. Cut 
out a plain facing by a pattern (see page 16), but don't 
place it, as the upper brim should be placed before 
the one which will be the facing. As the upper and tlie 
lower brims are alike in shape, be sure and guard against 
cutting them both for a facing, bv having ri^^ht side to 



Concerning Millineiy 



n 



right side of the velvet, in cutting out the second one. 
Slash the velvet in the back, if need be, to fit in a wedge. 
Sometimes the velvet may fit in easily without slashing, 
when the brim overlaps at the back. 

Lay on the upper brim of velvet, and slash it at the 
edge of the side crown with slashes \" each and \" apart. 
Sew it with a long forward and short back-stitch above the 
wire at the side crown, and then stretch it to the edge of 
the brim and turn over ^^ and sew, hemming the edge to 
the part of the 1^" bias crinoline binding, which overlaps 
on the under brim. The nap of the upper brim of velvet 




A Velvet Hat. 



should run diagonally across the centre front. Now 
place the facing (see page 17), sew at the head-size, and 
in slip-stitching the edge to the upper brim, take up only 
two stitches at a time. 

Cut out the velvet tip, having a margin }J' outside the 
paper pattern. Stretch the velvet tight across the tip, 
having the nap run the same way as that of the upper 
brim, then sew a long forward and short back-stitch \" 
below the edge where crown and tip meet. 



2)S Concerning Millinery 

The vchct side crown is lined with bias crinoline, 
which is cut to fit the side crown so that its edges will 
just meet, no allowance being made for a seam. Lay the 
crinoline cut from a paper pattern, on the velvet, with the 
nap running down, and the bias of crinoline next to bias 
of velvet, allowing \" all around, and cut out the velvet. 
Baste the crinoline to the velvet, turning in the \" extra 
width of velvet over the crinoline as a hem on the two 
long edges and on one end. The end which is not 
turned in is sewed, a long forward and short back-stitch, 
to the side crown of the hat frame. Then stretch the 
velvet side crown on, and sew the hemmed end tightly over 




Plain Wire Frame. 



the other end, with a slip-stitch. Have the joining where 
the hat trimming will cover it. Remove carefully the 
basting which secured the side crown hems, while it was 
being stretched on to the hat frame. Have the top edge 
of the side crown exactly even with the tip edge, and the 
velvet hat is ready to line and trim. 

A plain wire frame is made from a paper pattern 
which is drafted the same as for a buckram frame, with 



Concerning Millinery 39 

the exception of the side crown. In this case no side 
crown is drafted. It is made. 

Measure the headline and allow i^\ Cut 2 wires that 
length, for headline wire and tip-line wire. 19''+ i\" = 

20|^ . 

Have the paper pattern lying flat and smooth on a 
horizontal table till the frame is complete. Measure from 
front to back of brim (6 to 7 = \\\"^, and allow twice the 
height of the side crown, which height is determined by 
one's fancy, say 3^", and add 3" for making. 

11^'' + (3|- X 2) + 3 = 21^" each, and cut 4 wires this 
length. Cut i yard tie wire into i^ pieces. 

Form the headline wire and join the overlap in two 
places with tie wire. Have the tip wire as much less as 
is consistent with the height of the crown. Have it lap 
\^\ cut off the extra, and secure the ends with tie wire. 

Take one of the 4 support wires, bend up i^'', and 
measure the width of brim in back, bend at head-size, 
measure height of crown, bend again, and fasten to centre 
back of tip wire by tying with tie wire. Take the same 
wire across and tie to centre front of tip, with tie wire, 
bend down height of the side crown, and bend out on 
brim. Take another support wire, and with its centre 
under the centre of the first one, fasten with tie wire at 
sides and centre, and be sure all distances are equal. 
Treat the remaining support wires in the same way, tak- 
ing care to get them under the tip, which is thus divided 
into 8 equal parts. Bend down from the tip edge, so 
that each of these 8 wires measures the height of the 
side crown, and then bend them out at right angles at 
that point. Put on the headline wire with its joining in 
the back, directly under that of the tip-line wire. Divide 
it into 8 equal parts or segments, and at the points of 
division, secure with tie wire, the wires which were bent 



40 Concerning Millinery 

at right angles, at the eight points on the tip wire, and 
measured the height of crown, to be bent out again at 
right angles, at their points of intersection with the head- 
line wire. 

Place the hat on paper pattern and measure around 
on outer circle of the diagram + H" for edge wire. 
Have the headline of the hat secured to the headline of 
the diagram and measure off the eight wire distances on 
the brim, turning up the surplus where they touch the 
outer circle of the diagram. F'orm the edge wire just in- 
side of these bends in support wires, and allow \\" . 
Support it on the paper by pinning centre back, centre 
front and two sides. Remove and join the i\" overlap 
at both ends with tie wires. 

Take out pins and lift the hat from the paper. Bend 
the front and back centre wire around the edge wire. 
Be careful the line is straight from front to back, as the 
straightness of the frame depends on this first wire. Put 
on to paper pattern again to get left side, and measure 
around to right side (match), equal distances from centre 
back. Then fasten the rest by eye. 

Put brace wire, formed for centre support, half way 
between edge of brim and head-size, and on the crown 
half way between tip edge and head-size, and secure with 
tie wire to the support wires. Pull it tight on the crown. 
Clip all the tie-wire edges. Bend in the brim wires 
around again over the edge wire, and cut off the surplus 
when secure, but be sure to hold the edge wire firmly in 
one hand while winding support wire around it, so as not 
to get it twisted, which would make the hat brim look 
wobbly. 

A fancy wire frame differs slightly on the brim. Sup- 
pose a rolling brim instead of a plain one. Then add 
to the formula 2 times the height of roll, say 3", and we 



Concerning Millinery 41 

cut our 4 support wires 27^'. A roll brim has no sharp 
bend from the head-size outward. Bend each wire down 
at right angles at tip edge, measure down the height of 
the side crown on each, and then bend out at a curve 
until the finishing touch, which is a second bend around 
to secure the edge wire before cutting off the surplus. 
Adjust the edge wire as desired, and finish as in a plain 
frame. Put two brace wires at thirds, between edge of 
brim and headline, and brace the crown between tip-line 
and headline at any desired distance. 




Fancy Wire Frame. 



A shirred hat without frame is next illustrated. Take 
the drafted pattern used for the frames, for the brim; 
no side crown till support crown is made, i^ yards 
mousseline de sole makes a hat. 

For width of material, cut twice the width of the brim 
which is 3" at its widest part, plus twice the width of each 
frill, which is i" in a cluster of 3, at the edge of the brim, 
plus 3" for making gives us 

(2 X 3) + 3 (2 (i") ) + f ^ 6" + 6" + 3" - 15" for width. 
Two widths of mousseline de soie, make the measurement 
correct for fullness on this size hat, according to the pre- 
scribed rule for fullness which is: 

Brussells net 3 times the pattern 

mousseline de soie 2^ " " " 

fine ginghams 2 " " '* 

velvet i^ft " '* " 



42 Concernvig Alilline^y 

Cut in halves, one of the two widths of material and sew 
one half breadth to each end of the whole breadth, so as 
to have one long strip. Have the seams, which should 
have the selvedges removed, unopened, and both directed 
the same way. Turn back the ends i" and baste them. 
When there are three edge frills, and no underneath frills, 
fold exactly in the centre, baste a good distance down, 
and then sew the first frill. Thread the spool (fly run- 
ning) and sew one frill above and one below the first one. 




' ¥i 






Shirred Hat Without Frame 






When the three are sewed, run a |" below tliem a line of 
stitching, thus making a casing for the wire. 

These 4 wires in \" casings have graded distances, as 
the brim is wider at centre front than at centre back. To 
grade the spaecs between the wires, take the width of 
brim, subtract \' for each wire casing, and divide the 
remainder by tlie number of wires minus i. Do it in 
centre front, centre sides and centre back. The centre 
front is marked off at the centre of the long strip and the 
centre sides at the seams. 



Concerning Millinery 43 

3'' (width of front) — 4 (i'O or 3" - i" - 2" 

Number of wires 4 minus i =^ 3 

2 -r- 3 or I" in front. 

2f" (width of sides) — 4 (i") or 2| — I = if 

i|-f-3=::JX^= 1^2'' 01^ sides. 

2\ (width of back) — 4(i") or 2^ — i == i^ 

ij 4- 3 = f X i = tV on back. 

So we have the 3 graded spaces between the 4 wires. 

\" first, on centre front graded to 

iV or large \" on sides, and 

A" or small i'' on end edges. 
When these gradings are completed and \" wire casings 
all made, trim off even with the narrowest part from the 
last sewing to the edge, turn in the raw edges y and sew. 

Be sure and mark the centre front with a white thread 
so as not to lose it till the whole hat is completed. Take 
a silk edge wire and lay it on the drafted pattern edge, 
and allow \\" . Bend back f' at one end to secure the 
fullness from running off, put the other end through the 
casing with a bent flat \" at the end. Join it to the first 
end and see if it be the same size as the pattern brim edge. 
Run the wire the same direction that the unopened seams 
go. Have one wire the measure of the headline + \\" 
and the other three wires the measure of the edge + \\" . 
Always put in the outside, or edge wire, first. 

When the 4 wires are run through their casings, adjust 
the fullness of the material on them, and then lay on to 
the pattern brim, to see if the result be flat. If so, join 
the overlap \\" in each wire by pushing back to each 
side the fullness of the material. Then bring the edges 
together again. Be careful in flattening out the bent-up 
ends, to sew them as an overlap, that the wire does not 
get twisted. Pull up each gathering thread separately 
and adjust the gathers evenly all around. This is the 



44 Concerning Millinery 

part which requires gentle handhng, for it would be a 
troublesome affair if a thread should break. The brim 
may be laid one side, till the crown is ready to be joined 
to it. 

For width of material for the crown take twice the 
height of the side crown, twice the width of each frill and 
%" for making. 

The crown is 3'', has \" frill on each of 2 wires and on 
the tip wire, a cluster of three \" frills, to harmonize with 
the three \' frills on the edge of the brim. 

3'' (crown) X 2+8'' (for making = 14"). 

2(i") X 2 (wires) = i'' and 

2(i'0 X 3 (number of frills on third wire) = \\" 

14" + i" + \h" = i6V' for width of material, and for 
fullness 2^- times the headline. 

Turn in the ends and run i" hems. Fold over, the 
height of the crown 3'' -f 4" for making = 7" and what 
is left of the 16Y is enough for the frills. \" below the 
fold run a line of stitching for the casing of the first wire 
which shall be at the headline. For spacing for wires: 
subtract from the height of the crown V for each wire 
casing and divide by the number of wires minus one. As 
this crown measures for height the same as the widest 
part of the brim, 3'', and has the same number of wires 
as there are on the brim, it follows that the spacing shall 
be f between each wire casing. Make the second wire 
casing f from the first and on the deepest side of the 
material bend a \" for a frill and sew it as near the upper 
stitching of the V casing as possible. Treat the next the 
same way. For the uppermost wire which has three Y' 
frills sew the row of stitching for the lower line of the 
casing, then sew three \" tucks, a slight distance apart, 
before sewing the other line of stitching for the casing. 
This has the effect of hiding the tip wire with a triple frill. 



Concerning Millinery 45 

For the wires measure around the headline + 3^^ and 
cut 4 wires; in this case 21'' each, and insert them in the 
4 casings, as for the brim. Cut the wire always ; don't 
twist, as it gets a troublesome crook which interferes in 
running- through. 

A skeleton support crown is next made. Measure 
edge wire tightly around the head-size wire and add i" 
for overlap and tie it with tie wire. Thus far all the wire 
used on this hat has been edge wire, but a lighter wire is 
used for the rest of the support crown. 

Cut 2 support wires by the rule : measure off headline 
from front to back, plus twice the height of the side crown 
plus i' . To slope crown, allow \" less than headline. 

5i + 2 (3^0 + Z' = ^\" + (^" + 3^' or I4r each for 
2 wires. Make a tip wire a little shorter than the head- 
size wdre and tie the i' overlap with tie wire. Cross the 
2 support wires and secure them at their intersection with 
tie wire. Lay them on the tip and at 4 equal distances 
on it join the support wires at their intersections, with tie 
wire. Bend them down at right angles, measure off the 
height of the side crown (3'') on each, bend outward and 
around the last head-size wire that was made; give another 
bend around for security and the skeleton support crown 
is complete. As the head-size wire of the support crown 
is the same size as the inner wire of the brim, sew them 
together and the skeleton support crown is thus secured 
to the shirred brim. 

Take the shirred crown and fit it to the support, to 
get the correct measure to leave the wires. Join the over- 
lap of the wires as on the brim, adjust the fullness and 
draw up the gathering threads on the lowest wire of the 
crown, and then sew it to the brim, having the seam in 
the crown come where it will be covered by the trimming. 
Then draw up all the gathering threads carefully so as not 



46 Concerning Millineiy 

to break one. The ^' extra allowed on the wires was for 
accident, so it may be cut off except \" for the overlap, 
when fitting. It is best to join the 4 wires before securing 
the crown to the brim. 

Measure over to the centre of the tip what is left of 
the material, bend in the raw edge all around according 
to this measurement, run a line of stitching, and draw up 
the gathering thread, thus securing all the fullness in the 
centre and giving a sort of sunburst finish to it. Draw 
the extra through the centre and on the under side of the 
tip, clip off all the extra material and cover by a tip lining, 
as this hat has not the regulation hat lining. Draw 
tighter, the gathering at the inner edge of the brim, and 
the hat is ready for a bandeau if desired. 

It is well to get the second wire fastened before pull- 
ing up the gathers of the third, and be sure to run back 
3'' for greater security. It is only in such cases as the 
shirred hat that 8'' is allowed extra for making, the general 
rule being 3'' extra. It is made on tlie double on account 
of the wire casings, which fact explains, " -r \' for mak- 
ing," in the foregoing. 

When fine hand-sewing, which seems to have become 
a lost art (by the universal use of the sewing machine) 
shall again return to popular favor, such work as this may 
mark the renaissance. We are supposed to charge $4.00 
for making this hat, so that would insure its exclusiveness. 
What prettier work could there be for piazza recreation ! 
Although it is a solemn time, awaiting tlie breaking of 
the gathering thread, which seldom happens. 

A bandeau is made of buckram from 7" to ^" long on 
the straight edge and varying in greatest width from if" 
to 2" according to the degree the hat is to be raised. A 
pretty size on a small hat is 8'' long and 2" at greatest 
depth which curves down equally ow each side to meet 



Concerning Milline7y 47 

the straight edge, in a point which should be rounded off. 
Bind all around the edge with fine wire, button-hole 
stitched on. The edge cut from wire taste will serve the 
purpose. Cover the wire with bias crinoline \" wide. 
\" on each side of the edge, and sew a long forward and 
short back-stitch. Then cover the whole with whatever 
material desired. Velvet is the most satisfactory as it 
clings to the hair. Fold a piece of velvet on the straight 
and rest the straight edge of the bandemc in the fold while 
bastingthem together, cut the velvet \" larger around the 
curved edge and bend down hem-fashion and baste one 
side. Turn the other side in V' all around and top-sew 
it to the bent-down side, at the extreme edge. 

Very often a hat which is uncomfortable can be made 
to fit most satisfactorily by using a bandean, and it gives 
a different and sometimes a much better expression to 
a hat. 

An Empire bow is sometimes considered a suitable 
one for this shirred hat, as it does not hide much of the 
work on the hat. 2\ yards makes a bow for the crown, 
and I yard a small one for the bandeau. The velvet is 
\" wide and is wired with fine silk wire Y from the edge. 
A black velvet ribbon may have black silk wire sewed at 
the very edge, but it sometimes happens that the white 
wire shows too plainly, even when |" in, on the lighter 
colors, so that the ribbon has to be hemmed over to cover 
the wire and the hem sewed with the exact shade of silk 
as the ribbon. In such a case a little wider ribbon might 
be preferable. Make the bow with loops and ends and 
round them about, suggesting the name "spider-bow." 

In taking the measurement for a bonnet frame, there 
is a sHght difference from that for a hat frame. Take 
distance from centre-front to centre back and from ear to 
ear, and have outline according to how much the lady's 



48 Concerning Millinery 

head must be covered ; a large frame or a capote, or take 
half distance between ear and centre-top for measure 
across. 

A shirred hat with a frame is not so tedious or so 
difficult as the one just made. 

First select the wire frame to be covered. A small 
turban as illustrated requires i yard black silk net, 2 yards 
wide, and has \" tucks \" apart so as to lap over. Measure 
around the hat + 6'' gives a slight fullness for the brim. 




Shirred Hat with Frame. 



31'' +6'' = Zl" length of brim tucking. This frame 
measures \' at the greatest depth of brim. The rule is 
greatest depth of brim plus twice the width of each tuck 
plus f for making. 

4'' + 2(-f") times the number of tucks + 3". There 
will be as many tucks as space distance |'' is contained 
times in the greatest depth, plus one. \ or ^r' -^ I'' = 
I of taken up by tucks and spaces, and as each tuck takes 
up i'' or twice its width {V') it follows that there are ri 
of them to bound the spaces. 

They are very easily made as the cross bars match 
when the net is folded over and sewed with silk. 4'' + 
11'' + 3" = 18''. This rule applies when the width 
measure begins at the edge of the hat brim. In the pres- 
ent case it is necessarv to have an extra allowance before 



Concerning Millinery 49 

starting the first tuck which rests on the edge wire. This 
extra is to secure the tucking to the upper side of the 
wire brim. Lay on the net and bring it over the edge to 
measure the distance to some wire to which it may be 
sewed later on, say 3'^ so add to the result of the general 
rule and cut a piece -X)!" long, and 21'' wide. Join the 
ends and make the 11 tucks. 

For the tucked crown measure the head-size and allow 
i" for a seam, = iSV'. The tip measure is the same for 
the tucks as the head-size measure, but being smaller on 
the frame, there results a slight fullness in the net which 
harmonizes with that of the brim edge. 

Measure the greatest depth from the headline wire, 
over the side crown to the centre of tip; which is 4!" in 
this case, and proceed as before to get the width for the 
tucking, ^y + 2 (i'') times the number of tucks + 3'' = 
"¥" ^ %" '■= 12'', taken up by tucks and spaces, or 13 tucks 
4r + 2 (r X 13) + 3' = 4i" + 13" + 3". or 20^;. join 
the piece i8i" X 20^'' with a Y' seam, and tuck it, start- 
ing at the headline tuck by bending up i'' at the edge, 
and sewing the first Y' tuck. Sew the next one f dis- 
tant, and so on. 

With brim and crown ready to be adjusted, we turn 
our attention to the frame. Take a strip of crinoline i'' 
wide, cut on the straight, and on the upper side of the 
frame, sew one edge to the headline wire, and the rest 
sew up on the side crown to each wire. This forms a 
stay to which to sew the covering of the frame. 

With some of the silk net, cover the brim edge, as a 
filling-in under the tucking, to hide the framework. Sew 
a straight edge at the tip wire inside the crown, where it 
meets the support wires, and bring the single of the 
net down the side crown, and across the under brim, but 
where it is likely to show most, toward the outer edge 



50 Concerning yiillinery 

of the brim and over the roll, lay it in folds, and sew to 
the brace wires and to the edge wire, according to good 
judgment. 

Take the brim tucking, and with its seam in the 
centre back of the hat frame, start to pin it to the frame. 
Pin all around with the first tuck edge upward, and its 
stitching resting on the brim edge. Take the extra that 
was allowed before stitching this tuck, and sew it around 
the hat to the upper side of the brim wires. Bring the 
tucking evenly over the brim, and then sew the fullness 
in at the headline, pleating it and sewing to the crinoline 
stay, with a long forward and short back-stitch. The 
extra net is brought up to the tip-line, pleated, and 
stitched at the intersections of the support wires, with 
the raw edge resting on the tip. This sort of filling-in 
of the net gives a lacey effect. 

Put the tucked crown on with tlie scam where it will 
be covered by the trimming. Sew the first tuck to the 
headline, draw tlie depth of tucking to the centre tip to 
measure the exact depth, bend down all extra, and sew 
all around even. Then draw up this thread, and gather 
the fullness into the centre tip and sew it securely. 

Line the hat with a regulation lining and tip lining 
made of the silk net. The piece that is left of the web 
may serve for drapery in trimming the hat. It is wise to 
take what drapery is needed before using the net for the 
underlay of the brim tucking. 

The silk fold hat, illustrated, is made on the same 
principle as a sewed-straw hat. In sewing straw we 
stretch the outer edge, so that the inner edge may full 
on, to make the straw lie flat, as it is sewed on curved 
lines. As we cannot stretch the bias silk fold so well, 
we let the fold edge lie flat, and gather the inner one, 
which 2'ives the same result. 



Concerning Milli7icry 51 

This buckram frame had wire at head-size, edge of 
brim, and centre of brim. The edge of brim was bound 
with straw, and had a wire on top of it, thus to give firm- 
ness to the edge in case of a full binding. 

First, remove the straw and sew the wire on at the 
edge, without it. Bind with a \\' wide crinoline strip, 
stretching it well and sewing it near the wire, a long for- 




SiLK-FoLD Hat. 



ward and short back-stitch. In the case of using pieces 
there is no need to seam them, just overlap. 

Sew a i\" wide crinoline strip on top of the wire 
which runs around the centre of the brim, to cover it. 

Take the bias silk and cut a dozen or more 2\" strips 
by measuring off one, and then fold and fold, pinning 
to keep them in place. Then cut all the folds, seam 
them together into one long strip, and with edge and 
edge together, leave a \" margin, and run a line of stitch- 
ing which shall serve for a gathering thread. 

With one 2\" strip, bind the edge, first getting the 
length required to go around, by stretching and pinning 
the binding to fit closely, and measuring off an extra 



52 Concerning Millinery 

piece if needed. Take out the pins and take the binding 
off to seam it endless, and to seam the extra piece, and 
then snap it on to sew, far away from the edge of the hat. 

This frame takes a lo-yard measurement of fold made 
from li yard bias black taffeta silk. There is a three fold 
effect at the edge. Sew the first row around the edge 
even with the binding edge, and when a fold is on the 
underneath brim, it gives the three fold effect to the brim 
edge. Round off from the first row, and sew row after 
row until the side crown is reached, when you stop and 
take the other end of the long strip and sew separate 
strips on the wider part of the frame until the whole of 
the brim is covered to the edge of the crown, returning 
then to where the long strip was dropped, and sew round 
and round on the crown by pinning carefully at short in- 
tervals the outer edge of the bias silk fold, and then 
drawing up the gathering thread until the fold lies flat. 

To finish at the tip centre, cut a very long bias from 
the gathered edge of the fold, sloped to a pointed end on 
the fold edge. Gather it, and pull the gathers tight and 
turn under the raw edge, and securely sew to tip centre. 

Lay the fold on the underside of the brim to complete 
the triple fold edge effect, and in sewing it on, raise the 
fold on the upper brim, so as to get the stitching of the 
underfold hidden under it. Continue sewing round and 
round on the under brim, and at the narrow back let the 
uppermost row lap over the hat band, then sew shorter 
rows of fold (as on top) to completion. 

A dressmaker's trimming might be applied here; a 
fold gathered in w's, which was once so pretty. Besides 
the edge gathering, have a zigzag one, and the result re- 
sembles flower petals, and is especially effective in velvet. 

Feather curling, although a distinct trade, is closely 
related to the millinery. The shaft is the long thick stem 



Concerning Alillinery 53 

from which the fibres grow. For curhng a feather, the 
edge of a blunt knife, or a fruit knife, will serve in the 
absence of a regular one. First steam the feather till it 
is very moist. Then take a few of the fibres between the 
blunt edged knife and the thumb, drawing firmly and 
steadily upward from the base of the fibre where it meets 
the shaft, to the end, when the fibre curls back toward the 
shaft on releasing it. 

Continue till all the fibres have been thus treated. 
Flatten the shaft on a table, take a coarse comb and comb 
on each side of the shaft, to even the curled fibres. Before 
starting to curl decide what kind of a plume is desired. If 
" Prince of Wales," direct the curling toward the under- 
side of the shaft, and when both sides are combed, reverse 
the plume by putting the right side of the shaft toward 
the table. Keep about \" of the curled fibres in this 
position and bend the rest of the plume over, right side 
up. This has the effect of turning a hem, and it should 
be pressed lightly against the table at the turn-over edge. 
Try the same with the other side, and the curled edges 
extend toward the centre of the under side of the shaft. 
Take the dull-edged kni^e and, at the beginning of the 
shaft, with the knife pressing against the under side and 
the thumb against the upper side, gently and firmly curve 
the shaft, and at the very top bend it over considerable, 
and compare the result with the pictures of " Prince of 
Wales" plume. There is a certain bend of the wrist 
which gives the right effect that is shown by the v/ork of 
a good experienced feather curler. 

In trimming, never put a bow across on the centre 
front for one who wears eyeglasses, as it gives a 2-4-6 
idea to the onlooker. The medallion, or cameo effect is 
produced by a buckram 2" piece any desired shape, with a 
cotton covering cut the size, with V' allowance all around; 



54 Concerning Millinery 

bend over the extra and secure by lines of thread to the 
opposite side. Baste on the velvet to cover this sewings 
allow \" to bend over the edge, and hem it to the cotton 
underlay. Then blind-stitch it to the felting or any 
material with a margin \" which underlies it, and the 
raised appearance suggests the name " cameo.'' 

This closes the subject of hats. 

Fancy two young women watching the fashions in a 
window. One says : " Oh, I know I can trim a hat like 
that, at home, if I can only remember it." Her friend 
does not express what she knows, but she thinks: " Oh! 
I know I can remember that hat to trim one like it, at 
home, if I can only know how it is done." With this idea 
in mind she seeks a trade school, the managers of which 
are able to command the services of the best teachers. 
Time proves her thought to be correct, when with the 
guidance of a teacher who is a graduate of the best trade 
school in the country, she can, as a result of her lessons, 
stand before the show window, and with a few searching- 
glances store in her memory for home use, the ideas slie 
wishes to copy or to assist as hints in making original 
ones. 

Moral: Tliere is everything in knowing liow to do it. 




PART II. — BONNETS 



CHAPTER I 



To prepare a bonnet frame for covering applies alike 
to a plain, a fancy, a crape or a silk bonnet. To avoid 
repetition these directions will be referred to as they 
apply to the different bonnets. This cut represents the 
plainest bonnet, with an Alsatian bow, of which fancy bon- 
nets are but an elaboration. One yard of velvet i8'' wide 
makes a bonnet, including trimming and ties. 




Plainest Bonnet. 



I. To prepare bonnet frame for covering: when the 
buckram frame has a straw edge, remove it and replace 
the wire on the frame ; to avoid bulkiness under a smooth 
covering. Take a piece of crinoline i"' wide, the same 
color as the frame, being careful not to stretch it until 
sewing it on, with a long forward and short back-stitch, 

55 



56 Concerning MilLmery 

inside of the wire, to bind over the edge \" on each side, 
thus serving the twofold purpose of covering the wire 
and softening the sharp edge of the frame, making the 
wire look as if in a casing. Hats and bonnets are always 
bound with crinoline to hide the wire before covering. 

2. To cover the frame get the choice bias with the 
nap running towards the front, and pin the point on 
the centre front of the bonnet, stretching on the bias, and 
working out all the fullness until it fits the frame without 
a crease. Sew it around the edge inside the wire with a 
milliner's back-stitch, and cut the velvet even with the 
edge. 

3. Make a plain binding; for the length take the 
measurement around the bonnet edge plus \" \ for the 
width, take the measurement of the greatest depth of 
the brim ; but should there be no brim, imagine one, 
and allow i\" for making. 

For example: 20J'' + \" = 2\V\ the length. 
1I-+ i\" = y the width. 
Take the bias piece thus made and bend in \" at the end, 
laying it on at the centre back of the bonnet edge. Have 
a cotton-covered wire the same length as this binding; 
but unlike the wiring of a hat, this wire is sewed on with 
the binding about X' from the edge, the same stitching 
securing both. Wlien sewed around to the starting point 
y of velvet is left over, to bend back as at beginning, but 
the surplus wire is carried along straight and across, to 
sew inside of the other end, as on a hat-wire finishing. 
The \" surplus that is bent back at each end need not be 
seamed, as, in turning over, the edges meet and are se- 
curely caught by the sewing of the binding to the head- 
size. Turn the binding carefully over the edge. 

As this is a flat shape, we imagine a head -size i^'' in 
from the eds^e. Sew the inner ed^i'e of the binding around 



Concerning Millinery 57 

with a long forward and short back-stitch, taking special 
care that no stitches come through the velvet. This is 
done by bringing the needle through the buckram frame, 
and without allowing it to come all way through the vel- 
vet, directing the eye backward through buckram frame 
again, making a stitch in it, thus securing the inside and 
leaving no mark of sewing on the velvet top. Have the 
nap so that when the fold is turned in, it runs toward the 
centre, making it match the nap on the crown covering. 




Bonnet Lining. 

4. Next in order comes the lining. For the length, 
(i) measure around the headline from ear to ear + 
\\" , and 

(2) measure the depth of the side-crown + i]'' for the 
width. 

(3) Turn in X' at each end and begin at one ear to 

(4) slip in \'\ and to 

(5) sew in \" depth inside the head-size around to the 
other ear. This X' is bent when the running ribbon is 
put in and bent with it, as the ribbon finally ties at the 
centre of the casing at the top of the bonnet, being drawn 



5^ Concerning Millinery 

through a cut in the centre of the ]'' casing and bowed 
— different from a hat lining. 

(6) For the tip, measure from ears to front -r i", and 

(7) from side to side + o. 

Snip in the centre of the lower edge of the tip lining 
and fit it to the bonnet, blind stitching it to the lower 
edge, and then let it drop down like a handkerchief. 
Leave the lining incomplete at this point, until the trim- 
ming of the bonnet is completed, when the other two 
corners of the tip are sewed to the front of the bonnet 
and a 

(8) \" casing made in a 

(9) \" hem around the lining. Ribbon is run through 
it and brought to the centre, which is cut to allow the 
loop to be drawn through, when the loop is cut in the 
centre and the two ends made into a jaunty little bow. 
Sew each \' (left unsewed to await the ribbon in casing), 
overlapping the tip on each side. 

5. Ties. — Cut two bias strips 2\" wide on a choice 
bias, and the width of the velvet makes the length of the 
ties. Find the end on each toward which the nap run>, 
and make them mates, and cut off ends alike. Divide 
the diagonal end into thirds, fold over the top \ on to the 
remaining |, and cut it off through the fold, thereby forni- 
ing a new diagonal of an opposite direction. Seam thi> 
new diagonal with the ren^aining f . Seam on the wrong 
side, and then turn right side out. Join edge and edge 
of the length, making a catch-stitch fold, then turn over, 
making the overturn twice as wide as the under part, or 
I of the whole. This is called a milliners fold, or a 
French fold. 

Cut the ties equal length, and place them on the bon- 
net with a knot in the centre back, and the double fold 
toward the face. 



Co7icernmg Millinery 59 

To make the knot: cross the cut ends unevenly, one 
end twice as long as the other ; bend back the short piece 
over the long, twist the long piece around, and cross it 
under to hide the raw edge, same as end of other tie. 
Stitch securely to the centre of bonnet edge, and blind- 
stitch the fold to the ears. 

6. To make the bow: take ^-yard bias strip meas- 
ured on the selvedge, and square both ends (see page 23), 
and hem both edges. Make into two loops by bringing 
both ends together in the centre. Make the cross-piece 
a bias 7'' X 6'', and hem its sides with a catch-stitch, the 



^C . ^ 




Fancy Bonnet. 



same as the edges of the bow loops. Sew^ one end of it 
to the centre front, lay on the loops, and stitch securely 
in their centre, then bring the cross-piece over, bending 
in the other end of it to complete the Alsatian bow. 

For a fancy bonnet, prepare the frame for covering, 
as for a plain bonnet (see i). The additional piece not 
found on a plain bonnet is called a coronet. When a plain 
covering is preferred, the coronet may be removed, and 
covered on the same principle as the bandeau, and then 
replaced, or cover without removing, by first taking a 



6o Co7icerning Millinery 

paper pattern of it. Lay on a paper and pin it securely 
at intervals, draw a line around the edge of the coronet 
on the paper and then remove the pins. Allow \" margin 
all around the paper pattern when cutting out the velvet 
covering by it. With a bias strip of crinoline \" wide 
bind over the wire on the top edge of the coronet. Take 
the piece of velvet to cover the side of the coronet nearest 
the tip, and sink in near the crown, and sew the \" al- 
lowed for seam. Bring the velvet up smoothly and bend it 
over the edge and sew the \" to the crinoline binding 
by top-sewing their edges together. The top side of the 
coronet has its upper edge blind-stitched to the side 
already on and its lower edge fitted into the head-size. 

We have here illustrated a puff facing. For length 
take 1 2 times the measure from ear to ear, and for width 
measure 2 times as wide as the widest part plus 3'' for 
making. 

Example. — 18'' long + 9''= 27", or \\ times. 

2'' greatest depth X 2 + 3'' = 7" for width. 

To cover the tip, place centre front on a choice bias 
with the nap running forward, and cut the tip to fit as in 
a plain bonnet (see 2), with the exception of the lower 
edge from ear to ear. 

A plain binding goes all around on a plain bonnet, 
whereas this puff binding goes only from ear to ear, con- 
sequently the edge that is not covered by it must be cov- 
ered by the continuation of the tip, brought over the edge 
of the bonnet, bent under and top-sewed edge and edge 
with the \' bias crinoline which covered the wire, thus 
avoiding any track of stitching on the outside velvet tip. 

Allow lo times for fullness if not tucked. Allow \\ 
times for fullness if tucked. Gather the edge from which 
the nap runs the length of the bias piece {2^')^ for the 
puff, and adjust the gathers evenly inside the coronet 



Concerning Millinery 6i 

where its edge meets the bonnet tip, sewing a long for- 
ward and short back-stitch from ear to ear. Turn over 
and pleat the other edge into the head-size. 

Make the ties 2^' wide and as long as the velvet is 
wide when cut on a choice bias, and adjust them as on 
a plain bonnet. Notice the ends of the ties illustrated, 
which give to them the name "lily" ties, from their 
resemblance to the calla lily. Instead of dividing in 
thirds, as in the preceding example, cut evenly pointed 
ends and face for 2' down with some silk or satin, then 
when I bends over \ to make the French fold, let the 2" 
faced part flare. Place 2' triangular-topped wrong side 
of velvet against exact size silk or satin facing, and seam 
on the wrong side, then turn it inside out, and the end is 
nicely finished, — a better method than if the facing were 
laid on and blind-stitched. 

In making the ties, do not forget to have them mates, 
by putting right side of velvet to right side of velvet 
in cutting them out. Line (see 4). This illustration is 
intended to represent a velvet bonnet with its tip orna- 
mented with rare (?) old lace, into which valuable rubies(?) 
are imbedded. Those who have studied in a class can 
fully appreciate the pleasant rivalry which exists in our 
selection of materials by which to make a good result of 
our lessons. 

It would not be advisable to complete the trimming, 
as what would be first style for one season might be only 
second rate the next year; but good and correct making 
is always governed by the same principle. 

A beginner may experiment with a plain frame, and a 
fancy one, with i yard for each, of cotton flannel cut down 
to 18'', velvet width, and line the bonnets with cheese- 
cloth. The result is well worth the effort. 



62 



Conceriiing Millinery 



For a crape bonnet, prepare the bonnet frame (see 
i) and cover it with black nun's veiling (see 2), but do 
not cut the lower edge of the nun's veiling even with 
the edge of the bonnet ; bend \" extra, as a continuation 
of the tip, over the lower edge as in the fancy bonnet 
directions. Always fold the crape on the double, taking 
care to have the wale run exactly alike in upper and lower 
piece. The stripe or streak in crape is called the wale. 




Crape Bonnet. 



Fold it on the choice bias with the point on the centre 
front of the bonnet, smooth out, and cover the same way 
as the nun's veiling underlay covers the frame. The illus- 
tration shows a plain binding and three cords above it, 
extending around the front from ear to ear. 

Make a plain binding (see 3) from a bias fold cut 
on the double of the crape, but do not include across 
the bottom edge of the tip in measuring. Take the 
measurement from ear to ear around the front -r ^'\ and 
the }{ bent at the beginning, and at the end, with wire on 
top should be bent back to cover the wire ends. Xo extra 
is allowed for wire when the measurement is from ear to 



Concerning Millinery 63 

ear. Sew on the binding, turn it over, and then let it 
remain till the cords are sewed on. 

For the cords, measure from ear to ear, same as for wire. 
To this length add 1" for the length of cord covering 
which is a ij"' wide choice bias fold cut on the double of 
the crape. Sew the covering as near to the cord as pos- 
sible. Sew on the first cord very near the binding on 
the bonnet with the raw edge of it directed toward the 
tip centre and the finished part resting against the bind- 
ing, having the long stitch of the milliner's back-stitch on 
top. Sew the second cord in the same way, with its fin- 
ished side resting against the first cord, and then cut off 
the raw edges as near to the sewing as is safe. Before 
adjusting the third cord, cut off the surplus raw edge, 
allowing a safe margin for a seam. Direct its raw edge 
toward the second cord, with its finished edge directed 
toward the tip centre. Sew it to the bonnet, allowing 
the stitches to sink the raw edge in, and hide it between 
the cords, and the result is a very neat finish. Then se- 
cure the inner edge of the binding by turning it down 
over the front edge of the bonnet and stitching it to the 
bonnet with a long stitch under the cords, which hide 
the stitching. 

Line (see 4) — 13'' + i-r'' = ^\V\ for length, 
rr+ ir= 3"^ for width. 

The trimming is an Alsatian bow (see 6). To seam 
crape, cut on the bias and piece on the wale. This bow 
is 122'' wide on the single of the crape, with 2'' wide, 
catch-stitched hems, pleated and bowed on witli a cross- 
piece. The cross-piece is the same width, on the single 
of the crape, with the long edges bent in 2''- It is pleated 
on, with the wale crosswise, that is, at right angles to the 
wale on the bow loops, so that the pleating on it shall 
show plainly. 



64 Concerning Millinejy 

For ties, take il- yards of i\" wide gros-grain ribbon, 
knotted and crossed at the centre and bent in a pleat along 
the lower edge of the tip, where it is sewed on the bonnet. 
If, instead of a knot at the centre back, a small bow is 
preferred, then take if yards of ribbon. 

To renovate crape, it is interesting to know that suc- 
cessive layers of cloth and tissue paper, and cloth and 
tissue paper, and cloth, are employed. Steam the cloth 
and take it off, steam the tissue paper and take it off, etc. 

There is no substitute for crape by which we may 
learn how to make a crape bonnet, so a cheaper grade 
may be employed, in the absence of pieces of the genuine, 
which some may possess. Fine crape is as valuable a 
possession as lace and jewels. 

For experiment try, 

bonnet frame I .10 

y% yd. nuu's veiling 07 

I yd. crape 75 

piping cord 06 

I spool black silk 05 

lining 10 

\% yds. gros-grain ribbon 17 

wire 01 

A silk bonnet is next illustrated. The most important 
part of silk work is to have the cord in the silk all run 
the same wa3^ on the folds, the binding, and the covering 
on the bonnet. 

1. Prepare the bonnet frame for covering. 

2. To cover the trame, lay the silk on with the bias 
on the centre-front. There is no choice bias where there 
is a horizontal or a vertical cord. It is the twill that 
makes the choice bias possible. There is no right or 
wrong side to silk. Always cut off the selvedge on silk 
as on velvet. Stretch the silk on smoothly and have the 



Concerning Millinery 6 



extra fullness caught in two pleats, one on each side of 
the centre-front, but leave 2" plain in the centre-front. 
According to the shape the 2" may vary. The fullness 
may be stretched out on the bias of the silk, as on velvet. 
Stitch it around inside the wire from ear to ear, and cut 
it even with the edge of the bonnet, but on the back of 
the bonnet which is the lower edge of the tip, bend up \" 
extra and hem it to the bias crinoline binding as on the 
crape covering. 




Silk Bonnet. 



3. For a plain binding make a bias fold with its 
length the measure of the bonnet front edge from 
ear to ear plus \\ and its width, the widest part of 
the brim plus i\" and be sure to have the cord in the 
centre front run the same way as in the bonnet covering 
centre front. Place the binding as on the crape bonnet, 
but do not secure the inner edge of it until the bias folds 
are sewed on. The wire measurement for the top of the 
plain binding is from ear to ear plus o, on a plain bonnet 
frame, but on one which has a brim, add to this the meas- 
ure around the curve. It is not necessary to thread-wind 
the ends of a bonnet wire, as it was for a hat wire. 



66 Concerning Millinery 

To make the folds: cut the silk \^' wide on the 
bias, sew the edges together, running so that there shall 
be no hard edge to the fold, as would show if it were 
simply bent and not run. Sew on the first fold so that 
its rolled edge rests over the edge of the binding, and sew 
the second one as far from the edge of the first, as the 
width of the binding. The third one is cut \" wide on 
the bias and made a regular finished plain fold by catch- 
stitching its edges together. Before making, be sure that 
the cord of the silk, when the fold is sewed on, will run 
the same way as that of the other folds. Pin it on, stretcli 
it and blind-stitch the inside and the outside edges of it 
to the bonnet. In this case each fold is bent under the 
lower edge of the tip V' when beginning to sew it on, and 
also ^' at the end, which gives a neat finish and accounts 
for the \" allowance in measuring. When the folds are 
all sewed on, turndown tlie binding and secure tlie inside 
edge to the bonnet, with a long stitcli on tlie underside, 
or draw the needle part way through the silk on top and 
sew a back-stitch with the eye. 

4. Line, 

For a trimming, copy the prevailing fashion. What 
is left of the silk may be pieced on the straight to make 
a good-sized bias strip 12" wide. In case the ends have 
long points make them less slanting and finish with 
roll hemming which will serve for side trimming, when 
the edges and the centre of the bias are gathered to make 
a rosette trimming. A roll hem is; turn down ]'' and 
baste it, then turn it o\er \' and blind-stitch it. For 
example see diagram. 

Line BE = 2&' ) 

" GH = ^4'' > Gather these three lines. 
- CD = ib^^ ) 

L.ofC. 



Concei'uiiig Millhicry 67 

B A C and E F D lines bound the roll-hem portion. 
Draw up the gathering threads tightly and with BE 
around the centre front, adjust GH and CD with pins till 
their proper positions are decided. Then sew CD with 
its raw edge turned in toward the centre front, a long for- 
ward and short back-stitch. Bring GH to its former po- 
sition, from which it was unpinned, in order to sew CD, 
and sew it when the gathers are rightly adjusted, allowing 
the stitches to sink in the gathers and be hidden in them. 





Gathered Puff. 

Bend back the gathers of BE and sew it to the bonnet 
as the cross piece in an Alsation bow is sewed, only this 
is longer. The fullness may be finger puffed and the 
corner pieces adjusted as wings. This is merely a sug- 
gestion for a season which favors it. Sometimes bows 
are made with the roll hem, which is a pretty finish. 

The above was made from 

bonnet frame $ -^o 

iX yd. gros grain silk at .59 . . . .74 
wire 02 

$ .86 

This quality silk is good enough to learn by, but for 
practical use it wouldn't stand much wear and tear. 

There is one shape of buckram frame which is not so 
plain as these. It has a box crown. Cover the tip and 
side crown by first cutting a paper pattern of them 
as in the velvet hat and when covering a brim, make a 



68 



Concerning Millinery 



pattern of upper and lower brim and apply the same 
rule as on the velvet hat. Where there is a coronet 
with a sharp edge, which is not desirable, instead of cov- 
ering it plain, drape the trimming and a soft effect is pro- 
duced. 

In trimming a bonnet, sometimes a very small touch 
of a contrasting color gives a beautiful effect to the orig- 
inal of which the bonnet is made. Take for instance that 
shade of brown wdiich combines with pale blue. A touch 
of the blue gives brilliancy to the brown while it is attrac- 
tive in itself, but let too much blue be used and the effect 
is that both colors fall flat. 




Straw-Covered Wire Frame. 



To cover a wire frame witli straw braid sew the first 
row of straw to the edge wire of the frame, stretching the 
outer edge of the straw while doing it, bend up i" on the 
lower edge of the tip, at the end of, as at the beginning of 
each row. Sew the second row to the first, taking care 
to have the stitching where the third row will cover it, 
and so on around the coronet, and where it narrows, 
sew a separate piece, pushing well down into the bends 



Concerning Millinery 69 

of the frame. Sew around the tip, stretching well and 
when the last strand is reached, bend the left- in halves 
and sew over the right, as if a seam. A bonnet differs 
from a hat, in having each row of straw cut, whereas in a 
hat the straw is sev/ed around while the lines are parallel, 
and only when it narrows, are the rows cut separate to fill 
in the wide part. 

Follow the same idea to face the coronet with straw 
and have the sewing concealed on the upper side, by lift- 
ing the edge of the straw braid above. Usually some soft 
trimming is used for a facing, in which case, refer to the 
rules for fullness and depth. 

Note that the season's bonnet-trimming always har- 
monizes with that of the hat. When flowers are wreathed 
on one, they are on the other, and flat or high effect gov- 
erns each alike. Fit the bonnet to the wearer's head and 
when it is too broad, bend the wares to narrow it. That 
is the advantage of the wire frame. Numerous devices 
will present themselves and ease up any difficulty, when 
the fundamental principles are well established in the 
mind. 

When a buckram frame has one point in the centre- 
front, which is unbecoming to the wearer, smooth it out, 
and try none, or broaden the effect by two distinct points. 
Wire serves the two-fold purpose of keeping the shape, 
and as a means of changing it. 

A straws-covered wire frame is considered preferable 
to a blocked hat or bonnet, as there is more chance to 
display individual taste in the selection of the straw and 
the manner of covering. Web straw is a restful change 
from the stereotyped row upon row braid, and it may be 
used plain or puffed on. A model bonnet is sometimes 
shown which has the appearance of a hat, the ties alone 
distinguishing it. A tliorougli knowledge of hat-making 



70 Co7icerning Millinery 

and making and placing the trimmings, is necessary for 
success in bonnet work. 
Z/;^^and trim. 



%\t Women's 






t^OiCu y_. 




(Mt^ (M€4/M€d ^^ 



^J- 









CONCLUSION 

It has been the aim of the writer to so present each 
step of the worker's progress, that a beginner might, by 
careful study know how to go about the task. Those 
having some insight into the trade, could dispense with 
minute directions, needing only suggestions to assist 
them. Others may have wished for a complete text-book 
to give them technical knowledge of how to execute, 
what looks so easy but is really a puzzle, and for them 
this book is especially written. 

In the various instances where measurement is a par- 
ticular part of the problem, figures are used in preference 
to writing out the dimensions, as they attract the eye 
more readily, and can become fixed more easily in the 
mind. Then w^ien the eye becomes accustomed to rela- 
tive measurements, judgment takes the place of mathe- 
matical exactness. 

Such work as this book describes may be very enjoy- 
able where a few club together to pass the winter even- 
ings in profitable recreation. 

A good idea of values is soon cultivated in buying 
materials, and it serves to apply to other work. Mous- 
seline de soie, which is sold at the lace counters in the 
standard dry goods stores at .75 per yard, will wear again 
and again by being ironed carefully between two cloths to 
renovate, after a season's wear. Black silk net at $1.00 
per yard never rusts and can also be worn again. This 
fact recalls what is said of the French woman. She buys 
what seems higher first cost, but cherishes it for future 
use. Velvets, buckles, feathers etc., are carefully brushed, 



72 Concerning Milliiiery 

cleaned, wrapped in tissue and boxed. A velvet may 
sometimes be bought at $i.oo per yard, and exactly match 
a piece which cost $1.50 per yard a few seasons previous, 
simply because it is no longer the first choice of the 
season. 

To steam velvet invert a hot flatiron in a tin box and 
secure it firmly ; lay on a wet cloth and as the steam rises 
draw the velvet lightly across, so that the steam may rise 
through the nap. Sometimes a velvet bristle-brush is 
used to assist in smoothing the nap in the right direction, 
especially where it has been much tracked with wear. 

Here are two examples. 

Total cost Present outlay 

frame $ .25 frame % .25 

2)2 yds. No. 30 liberty satin rib- ribbon 1.13 

bon at .45 1. 13 straw 50 

10 yards straw at .05 50 

y% yard velvet facing at $1.00 38 ^Si.SS 

lining 10 

I buckle 1.25 

I flower 1.25 

1 plume 2.00 

making 1.50 

I8.36 
Which shows the present outlay 22% or less than ^4 the original cost. 
This was not profitable, as the straw faded. 
straw hat originally cost l3-oo frame | .25 

2 yards black velvet ribbon at muslin 07 

.45 90 ^^T; 

2 bunches black roses 63 "" '^^ 

)^ yard muslin at .I2>^ 07 

I bunch cherries 1.25 

I French frame 25 

making 1.50 

57.60 

The present outlay shows a little over \^c of the en- 
tire cost. This was a most satisfactory experiment and 
called forth much favorable coniment. We might i^-o 



Concerning Millinery 



/ 3 



through a series of depreciation percentages estimated 
according to the number of years' service of each partic- 
ular part of the trimming, but it would be too tedious and 
would not pay. Such a practice is not commendable, as 
it might tend to clog the w^heels of trade, if universal, but 
is allowable when it is necessary to economize in one 
direction, in order to be more lavish in another. 

Millinery goods are called perishable and therefore are 
not easily carried from season to season, but a good article 
with care may last ; — perhaps longer than its owner might 
wish. There is not the sense of refreshing newness, even 
when a new form is given to old material, however valu- 
able, so that, while the experiment tends to develop many 
faculties, and to result in economy, the extreme is to be 
guarded against, that is, the impulse to dash the whole 
result to the winds and get new material. 

With whatever profitable view, dear reader, you study 
the lessons contained in this work, it is the sincere wish 
of the writer that your efforts, like hers, may be crowned 
with success. 




Work Box. 



1902 



LIBRARY OF 




''iMii 



CONGRESS 




014 080 204 9 



